“Seth material” search engine (Jane Roberts)

(Long pause.) In an industrialized society, people were trained to fit into assembly line productions. The imagination was itself considered suspect. It was felt that creativity served no responsible end in society. Again, you both pursued your own courses nevertheless. You did so, however, in the light of that psychological climate, so that while you went your own ways you also reacted to the social environment: you tried to show other people that you were indeed responsible—more, that you worked (underlined) not only as hard as others, but often harder (underlined).

To some extent you convinced yourselves that such creative activity was indeed in some respects more work certainly than play. In your own art you worked relatively slowly, measured out your pleasure in a fashion, even thinking sometimes in the past that your talent required (underlined) periods of indecision and difficulty. Often you emphasized impediments. It seemed almost sacrilegious to think that the production of excellent art could involve fun—or worse, an active sense of irresponsibility, a joyful sense of ease, so that if a painting came too quickly you could not trust it.

(9:20.) In the world of official thought, work does indeed seem to imply responsibility. It seems to many that left alone people would not want to work at all, and that people’s pleasures would lead them into frivolous behavior. In actuality, of course, people’s pleasure, if it were understood and pursued, would lead to far more fulfilling and productive work, or working lives, since individuals would automatically know how to choose productive activities that brought them pleasure, and that were then pursued for their own sakes.

(Long pause.) Pleasure implies play as well, of course, and art involves a kind of high free play—an extension of it that cannot be tied to personal or to mass need. High play of that nature opens doors of excellence that responsibility alone can never touch, and results in far more valuable help to the world as a natural by-product than any self-determined behavior can, so these are the ideas that we want to stress, both in bodily terms and in psychic and creative ones, and Ruburt is beginning to understand some of that now. The idea of creative play—and in those terms of a certain kind of abandonment—should be encouraged; the kind of abandonment a child feels when playing a game, in which it identifies with pleasurable activity. It therefore joins with its own unconscious processes, and those processes are connected more intimately with the very source of its being.